Domestic Goddess? You Have To Be Kidding!!

Writen by Sharon Jacobsen

I’ve tried. I really have tried. It went against my nature but I gave it my best shot and it just doesn’t want to happen. I am, quite simply, not a domestic goddess.

I’ve visited websites that are designed to help me get my home organised to almost military precision and read books that tell me how to remove stains from every imaginable surface with the aid of all sorts of weird and wonderful potions, but still my house remains the same. A mess! Albeit, a comfortable mess, but a mess just the same.

Right now, the situation’s bordering on the extreme, but that’s down to lack of cupboards, drawers and other storage facilities. Or so I say. If I’m honest though, that’s only part of the problem. The rest is all down to me and my lack of desire to join the ranks of the ‘clean queens’.

Now don’t get me wrong, I’m not living in a filthy pigsty or anything. My floors get washed, but often they’ll have to wait a day or three longer than they should before I get round to doing them. We wear clean clothes, but you’ll often find a skirt and blouse hanging in front of the gas fire in the evening, being dried for the next morning after discovering that the only clean clothes I have are an old pair of jeans and an out of shape t-shirt. We always have clean towels, but I can’t guarantee you’ll find them in the airing cupboard, where they should be. No, you may well have to run downstairs and hunt through the pile of clean washing that hasn’t quite made it upstairs yet. It’s usually on top of the dirty washing basket making more washing difficult to do without first removing that which is already done. A clever ploy, eh?

All in all, things happen in a pretty relaxed tempo around here.

But relaxation can quickly turn to panic.

“Oh heck! There’s no loo paper!” - Do you recognise that one? You’ve been busting to go, dash to the bathroom, sit down, let it go and then you notice it. Where soft, fluffy paper once resided, there’s now nothing but a mucky grey cardboard roll. A quick look on the toilet cistern, or wherever your extras are usually kept, confirms your fears. Anybody who’s ever had to deal with this situation knows just how awful it is. I swear, one day, I will be organised enough to know that at any given time, there will always be paper by the toilet.

“Sorry. I can’t offer you a cup of tea. I’ve run out of sugar”. - Even when I know I’m expecting company, I’m too damned disorganised to check these things beforehand. Do I have teabags, sugar, milk? How would I know? Well of course I know. I made a cup of tea last night and there wasn’t much sugar left. Take into account that the kids had cereal this morning and in all probability there isn’t much, if any, left. Why do these things just not sink in with me? Am I a complete airhead? No. I don’t think so. I blame it on having a busy brain. Some would say that I should keep it busy by thinking of things that matter rather than wondering how super glue was invented or whether or not to buy myself some frilly undies, but the fact remains the same; I’m just too busy thinking about more interesting things to notice the decline in our sugar supply. Will I ever learn?

“I’ll just put this in to soak”. - There’s a pile of washing up and by the time I get to the pots and pans I’m sick to the eye teeth of standing at the sink scrubbing dried organic residue from plates, bowls and other feeding utensils. All due to the fact that I didn’t rinse them off when I should’ve done, let alone wash them up straight away. The pots and pans have a tendency to be left to soak and you can bet your best set of cutlery that I’ll later need the sink for something, only to discover them sitting there in my way. What happens? I end up doing the most undesirable part of the washing-up procedure at record speed, but at a time when I least feel like doing it. Washing-up as you go along sounds like such a fine and dandy idea, but still my mountain grows!

“Does anybody know where’s there’s a pen that works?” - I have a plastic pot on my desk. In this pot there are pens. Four of them at the moment. One of them writes well enough to make quick notes, but I certainly wouldn’t want to write a letter with it. It’s one of those stop-starters. A cheapo left over from a pack of 10 for 99p. The other three won’t write at all. (For those who are interested, I’ve just binned them after trying them, rather than put them back in the pen pot, like I usually do - I’m learning). If I scout around a bit, I’ll probably find another 4 or 5 pens. If I’m lucky, 1 or 2 or them will probably write. I’ll have taken me 20 minutes to find them though.

“The washing machine won’t spin. Where’s the guarantee?” - Errr. I believe we’re expected to keep our paperwork in a reasonably orderly fashion? Well, miracles could happen I suppose, but unfortunately, none have happened yet. I’ve got a draw with hanging files in my desk. There are about 30 files in there, all neatly labeled. “Bills to pay” - “Bills Paid” - “Birth, Wedding and other certificates” - “Bank Statements” - etc., etc. Now wouldn’t you think it would be easy to lay your hands on that guarantee with a system like that? Of course it would but that’d mean having to actually put things in there. There’s a huge difference between the filing system I intend to use, and the one that actually exists, namely a huge pile of papers on top of the desk, some of which have fallen down the back, and a shelf full of all sorts of paper things but quite honestly, I’ve no idea what they are. Oh well, I had good intentions.

Things could change but at the moment our house is ‘blessed’ with a distinct air of disorganisation. But we laugh about it, and we get on with it. It’s our home and until I decide to get my head out of the clouds and knuckle down to some real hard discipline and get all domestic, this is the way it will stay.

~~~

Sharon Jacobsen is a full-time freelance writer based in South Cheshire, England. For a reasonable fee she’ll happily write articles that your readers will love, and on any subject from dance to divination. Sharon can also deliver compelling sales letters, press releases, e-books and just about anything else that’s related to the written word.

To contact Sharon, or to learn more about her work, please visit: http://www.sharon-jacobsen.co.uk

Charles Rennie Mackintosh

Writen by Mary Anne Winslow

There are many outstanding Scottish architects, but Mackintosh was one of the most talented ones. He was born in 1868. His works are the rebellion against the traditional architecture, which used to be influenced by the Greek and Italian style. His buildings were designed to reflect the present times and culture.

Mackintosh was influenced by a new movement that was steadily growing in popularity on the continent, Art Nouveau. The philosophies of this new movement struck a chord with Mackintosh, as the artists who walked under the flag of Art Nouveau broke down the barriers between the fine arts and the applied arts and severed all connections with classical times, just as he wished to do. This was at a time when the Britain of Empire was still looking back at the great classical empires for its inspiration, this makes Mackintosh a very European artist and ahead of his times for his own country. The Art Nouveau artists also believed, just as he did, that an artist should work on everything connected with the building, from architecture to furniture design, so that art would become part of everyday life.

During his lifetime, Mackintosh designed a variety of buildings, ranging from his own house, to the Glasgow School of Art. His ecclesiastical work was not extensive; he built only one church and a suite of church halls in Glasgow and also designed furniture for a variety of churches. In 1896, once the competition drawings for the School of Art had been completed, he transferred his attention to the design of a church at Queen’s Cross, Glasgow. Mackintosh took a mathematical view of Art Nouveau design, preferring to use designs that were very geometrical in their line. For the exterior of the church, he borrowed significantly from his knowledge of Scottish architecture. The long main facade can be likened to the cliff walls of castles such as Linlithgow and Huntly, and the replay of devices, such as slit windows and the tower are also reminiscent of castle architecture. The interior is where the influences of European Art Nouveau can truly be seen. Mackintosh did not stop at designing just the exterior of the building, but completed designs for the pews, pulpit and windows. At a time when Victorian Britain favoured a more flamboyant style of decor, Mackintosh turned to stripping furniture and decor to its bare minimum.

European artists were beginning to use pure lines and blocks of colour to portray their chosen images, rather than true to life representations. In this way, his love of natural forms is evident in the motifs he used to decorate the church furniture. Instead of attempting to depict faithful images of flowers, he broke them down and created simple, stylised carvings. Mackintosh also loved to create a feeling of space within his buildings. This was usually done by incorporating huge windows into the architectural plan. Images D and E depict large windows consisting of elongated glass panels, to allow the maximum amount of light to enter the hall. The Victorian’s love of stained glass windows obviously had an effect on Mackintosh, but as usual he has interpreted the idea in his own way by using simple shapes and a restricted palette of colour.

Mackintosh’s work reflects the way that the world was beginning to change, the political order of old Europe was beginning to break down, and technology was advancing rapidly. He saw that it was time for art to break away from the restrictions of the past years and to create a new place for itself in the world. Because of this, his work was often approached with suspicion within his homeland, which was so fond of looking to the past rather than the future. His ability to absorb many influences and to recreate them in an entirely personal way, almost inventing his own Art Nouveau language, meant that during his lifetime, it was only in Europe that the originality of his work was truly appreciated.

This would also include the designing of the fixtures and fittings, such as lampshades, magazine racks and doors. In Mackintosh’s case, this often included stained glass for the windows and internal partitions.

What If There Were No Wars?

Writen by Lance Winslow

What if the human raced evolved to the point that they understood that killing ones own species sets a very bad precedent? What if we could use some other method to solve impasses of nation state’s political will in negotiations? What if we declared wars on things, which are not threats of mankind against it’s own but rather events occurring against all nations and all peoples? What if we declared war on the short water supplies or a war on Poverty and human rights abuses? What if we simply said we have had enough of these Typhoons and Hurricanes and declared World War III on Extreme Weather, which kills tens of thousands per year? Declare War on the Weather; a genuine Herculean effort to stop Hurricanes like Katrina, Wilma, Andrew and Rita and a commitment to the human race to win that war once and for all?

How about a war on Cancer? What about a war on the confines of Gravity on our species, freeing us from being imprisoned on this little oasis and allowing us to travel the solar system and beyond? Why not declare a war on the issues, which truly plague us all? A war on Earthquakes and vibrational anomalies, which cause them and trigger Tsunamis, could be a start. We can start by declaring a war on lack of knowledge that affects the safety of the people and search for ways to predict them and eventually stop them.

We can still build weapons of war, but let’s pick a common enemy to build our team. Let’s pick those things, which threaten all life on Earth, things such as Asteroids hitting the Earth or plagues destroying populations. We can win these wars if we work together, without repeating the death and destruction of the past and we will be all the better for it. Think on this tonight, we can do this.

Lance Winslow

Cubism

Writen by Margaret Houghton

The art movement, Cubism, began in 1908 and strongly influenced art and sculpture in the early 20C.

Cubism dissected painted images, then reassembled them as abstract forms. Cubism showed images which could be seen from all angles. Subjects were painted in cube form, hence the name, Cubism.

French painters, Georges Braque and Pablo Picasso were foremost in introducing the movement. They worked closely until 1914. By 1910 cubism had become popular and was known as the”Cubist School.”

Other art movements began and new trends developed.

‘Analytical cubism’ displayed surfaces closely patterned with incomplete lines, which played the forms against one another. Often the works were painted in the same tone, making it difficult to identify images. Artists left clues, such as a pipe suggested someone smoking; also alphabetic letters, a newspaper or a bottle of wine.

In 1912 “synthetic cubism” emerged. Small objects were painted over then stuck onto the canvas, and superimposed one over another. Brighter colours replaced the dark, monochromatic scales which were hard to decipher.

Paper replaced paint and was pasted onto canvas forming an image. Patches cut from newspaper, presented images. Paper with woodprint, advertisements, were more colorful. Sand textured canvasses worked with graphite or charcoal forming shadows.

Copyright.

Margaret Houghton.

[Not for publication: 'woodprint' or 'woodcuts' were images carved out of wood and pressed onto paper to make an image.

The names Pablo Picasso(Spanish) and Georges Braque(French) are the proper names of the two artists who were involved in Cubism.]

Margaret Houghton graduated in Fine Art from the Western Australian Institute of Technology in 1982 , majoring in painting. She prefers acrylics to oil paints. Recently, she turned her attention to screenwriting which is a very long stride.

Jesse Jackson and the Rainbow Coalition

Writen by Lance Winslow

The rainbow coalition by Jesse Jackson is a silly notion indeed. First off what is the only color not in the rainbow? Black right, so what is the deal? How can we take someone seriously who does not even know which colors are in a Rainbow in the first place? Is Jesse Jackson just trying to get the 2% Homosexual Vote, by borrowing their 8% synergy in their movement?

Indeed the whole idea of a rainbow collation choosing a symbol to represent their group, which leaves out Black Americans or African Americans is simply un-American? What does Jesse Jackson have against blacks? Why is he such a racist to leave out blacks, knowing full well they are the only color not represented in his rainbow?

Now then Marians use to be depicted as Green, which are represented in the his rainbow, but now a days are also often depicted as Blue. Apparently Jesse Jackson for equal rights under law for Aliens, but not Black People or Hispanic Americans. Well at least he is pro-Space and Mars Colony spending above social programs.

What really bothers me is that Jesse Jackson must also hate Hispanic Americans, which are often represented as Brown, which is also not in the Rainbow. This is simply frightful and tells us either Jesse Jackson flunked out of Kindergarten or he is pro-Gay and Lesbian as long as they are white and hates Blacks and Hispanics.

We should never consider anyone for public office who hates any race, especially minorities. The Rainbow Coalition and Jesse Jackson ought to be ashamed of themselves for trampling the under privileged who have every right to loot for free TV sets after any uprising, whether it be man-made, media driven or from Mother Nature. Why is Jesse Jackson’s group so adamant about leaving out the Hispanic and Black Americans from the symbol, which represents his group? Is he trying to cater to only those who are colorblind using trickery tactics?

Lance Winslow

Tartuffe - English Literature Take on How to Fight Post 9/11 Hypocrisy

Writen by Kathy Deisler

Written in 1664 Moliere ‘Tartuffe’ captures the spirit of its time - the beginning of ‘The age of Reasoning’. It is a satirical comedy aimed at religious bigotry. It is so much more relevant in the post September 11 world where environment around us has been marred with hatredness and religious fanaticism.

‘Tartuffe’ provides a two dimensional answer to protect people from deception and stop bigots in getting successful at their objectives. Precedence of reason over passion and bare the deception rather than harming the bigot.

Precedence of reason over passion

The first real conflict between reason and passion is depicted. Valere confronts Mariane with the rumors that she is marrying to Tartuffe as per her father’s wishes. The tempers flied high but none was ready to understand the other’s position. Moliere crafty intervention of Dorine as a mediator set the importance of finding a solution rather than letting emotions run over the situation.

Bare the deception rather than harming the bigot

Moliere gets it dead on spot on how to stop the bigots from getting successful at their objectives. It’s the ideology not the individual - bare the idea and the evil will evaporate itself. Rather than physically reprimanding Tartuffe, the family decided to bare his truth in front of Orgon which proved successful.

How relevant Tartuffe is in our lives today, instead of going thousands of miles as a killing machine we should work toward unearthing the deadly motives of terrorists and bare them. That is the only way we can stop the supply chain. Breeding hatredness will only breed vengeance.

Kathy is student consultant on writing communicative term papers at write term papers. She has vast experience in evaluating and editing english literature term papers for college degree courses.You can contact her at write term papers.

The Image in Front of the Mirror

Writen by Kadence Buchanan

In pursuit for the true meaning entailed in Freud’s attempts to comprehend human cognition, Jacques Lacan elaborates in Ecrits on the relationship between the signifier and the signified as a method of asserting reality, while challenging the reader to seek the meaningful question that needs to be answered. “Who am I?” Using more or less the Socrates methodology of an imaginary dialog between the reader and himself, Lacan enters the world of reality using as his tools the algorithms of metonymic and metaphoric structures. By defining their interrelated existence along with their opposing role in a person’s understanding about what he defines as “nature” and oneself, Lacan penetrates the eternal battle between conscious and unconscious thought.

Beginning his journey with the fundamental notion of “I think, therefore I am”, directs the reader to accept a revised definition of the same principle, through the use of negation. Specifically, he asserts that: “I am not, where I am the plaything of my thought; I think about what I am where I do not think I am thinking”. Through this belief, Lacan introduces the power of negating oneself in order to define existential affirmation. It seems like the mirroring result of the “reality principle” on which he refers to in “The Mirror Stage” is actually the identification of a concrete whole through the realization of the surrounding context in which one lives in. The mirror in his unfolding is the unavoidable truth that cannot be disputed and the first thing that reveals one’s existence prior to the actual realization of that mere cognitive self. Although language, signs and all kinds of discourse have made this identification procedure easier for individuals to comprehend, Lacan disputes their initial role in the theoretical perspectives of psychoanalysis and constructs a new environment for them to flourish. They become the artifacts through which sane or insane people conceptualize the world around them and interpret their own intentions.

Continuing his quest in realizing this battlefield between truth and reality, Lacan refers to the connection between dreams and unconscious representation, subjecting himself in different views regarding true intentions and actual desires. Using Freud’s initial attempt to foresee one’s inclinations and the ego’s role in the superstructure of dreams, Lacan manages to derive an interesting conclusion regarding this process. “…we cannot confine ourselves to giving a new truth its rightful place, for the point is to take up our place in it. The truth requires us to go out of our way. We cannot do so by simply getting used to it. We get used to reality. The truth we repress.” Then if reality is the truth we repress so as to hold on to our role in this process, what do we see when we look ourselves in the mirror? A lie perhaps? Or just the unknown reality that challenges our comprehension so much that makes us unable to search the deeper source of this truth?

Whatever the answer is for each and every one of us, the issue still remains whether we want to compromise the next time we look in the mirror. “Ignoring the self’s radical eccentricity”, according to Freud and Lacan, “is a resorting to compromise which disorients all psychoanalytic action and plunges it into darkness.” Although the initial desire is that of inner freedom and truth, traveling towards this goal can become the actual prize one gains and the process that makes us consider reaching a mature state of self-actualization and attain self-respect. As Homer has revealed centuries ago, Ithaca is not the issue in this journey, it is the voyage itself that counts. From what it seems, all we humans can do in the meanwhile, is take the risk of continuing our own journey and look from time to time into the mirror of our lives.

Cartoons As Weapons of War?

Writen by Lance Winslow

What if it were that easy I ask? What if instead of sending nuclear enabled ICBMs to your neighboring countries, you could solve you anxiety and frustration thru designer cartoons? What if we all stepped back and laughed at ourselves and each other and determined all this sound and fury does no one any good, but rather is creating animosity and spite which has lasted thru some 60 generations?

It seems as we saw the riots in the Muslim nations over the Danish University Newspaper cartoon of the Great Allaah with a turbine on his head made to look like a bomb signifying the most radical Islamic clerics who use their religion to recruit suicide bombers; we are learning a lesson indeed. The lesson is this; when someone wants to cause a conflict over something they will always find a way. They will always find a way to play victim or use the conflict label another or a group or even a nation.

We know in watching human groupings and chimpanzee troops or even High School Football team cross town rivals that to build a team, you must first pick an enemy. Well not always, but we know that such a method is perhaps the easiest way. Rather than uniting ourselves against another, why not unite all in a common cause of cartooning.

So that we may look at ourselves and our neighbors and just laugh at the whole thing; after all we are a bunch of silly humans and get all worked up nothing at times. Come on humor me, this was not such a bad article? Consider this in 2006.

Lance Winslow

Don’t Stare at My Hair

Writen by Kenneth C. Hoffman

Hair is where you find it. My favorite hair salon name, “A Cut Above” contains several hidden meanings. I stopped going to a barber when a ten minute shearing cost twenty dollars plus tip. Now my wife hacks away every two weeks, turning my shirts into an itchy torture chamber and leaving little red scissor spots on my ear lobes. I daren’t say anything critical or I’ll be back at the barbershop in a minute.

I wouldn’t spend a dime on a hair restorer, but a windfall bottle of (ladies) Rogaine invigorated my scalp for a month to no avail. I really don’t care if I have a high (!) forehead, but vanity must out. What I can’t understand is why God thought it necessary for inch- long hairs to appear on my ear lobes and a mop of fast growing stragglers to hang out of my nose. The shaving razor takes care of the mutant lone hairs on the tip of my nose, but I sometimes to forget to service my eyebrows until they start to look like a jungle attractive to itinerant fleas.

I just wish all this follicle activity would transfer to my scalp. Once in a hair salon in Germany, the newest member of the cutting staff was terribly embarrassed when the old-timers glued a patch of hair cuttings under the armpits on her winter coat. Unfortunately, she didn’t discover it until the snickers and stares on the crowded bus directed her eyes to her armpits. LOL.

One day, after following me down the stairs, my wife informed me that I was developing a thin spot on the crown of my head. As if I wasn’t aware of it for a year. Now I look at the hats in the stores with less of a jaundiced eye. I wonder if I’d look ridiculous in that Irish tam-o-shanter or if eyes would shunt away in laughter at the sight of me in an oversized cap with flaps. I’ve bought several peaked caps in the last few years and they all ended up on a restaurant seat or decorating the lost and found box at the library.

A recent appearance on a barbershop show had our antiquated quartet in a West Indies straw hats in honor of the Jamaican song we sang. In the video we looked like four retired gangsters on the way to a Mardi Gras party. I liked the line in the Randy Travis song, “If it all fell out, I’d love you anyway.” My philosophy, exactly.

I like to write how-to’s and anecdotes for Pearlsoup.com.

Precious Stones - The Big Five: Part 2, The Ruby

Writen by Sam Serio

What fairy tales of enchanted princesses and legendary lore of the Arabian Nights does not the mere mention of the ruby conjure up to our imagination! No stone has been more intimately connected with poetry and romance, and few gems can compare either in beauty or value with a perfect ruby. When Solomon exclaimed that “a virtuous woman was more valuable than rubies,” and Job, that “the price of wisdom is above rubies,” they both mentioned what to them was the most valuable thing in existence. And its value and rarity have not decreased since their time. Today a perfect ruby of five carats will fetch at least five times the value of a diamond of the same size and quality, while rubies without flaw or blemish, and of the true pigeon-blood variety, weighing as much as ten carats, are so rare and valuable that ten times the value of a perfect diamond would be considered a very low price to pay for so perfect a gem.

The ruby is the oldest or first known of all precious stones, dating far back in the early history of Chaldea and Babylonia. The finest specimens, as well as the largest quantities, are found in Upper Burma, and at the present time over one-half of the world’s supply comes from this locality. The rubies found in Ceylon, Siam and Australia have not the deep rich color of the Burmese ruby which is a shade of red slightly inclined to the purple and is often called “Pigeon Blood Ruby.” The value of rubies depends upon their color and transparency.

The red sapphire or ruby is the most valuable of the corundum family, and when found of a good color, pure and brilliant, and in sizes of one carat and larger, it is much more valuable than a fine diamond of the same size.

Rubies and Sapphires are scientifically the same stone, differing only in color. Corundum, the predominating mineral of both, is composed of nearly pure alumina. The coloring substance, which differentiates rubies and sapphires, is believed to be chromium. In the scale of hardness the gem ranks as No. 9 and is thus the hardest of all substances excepting the diamond. Color is the most important factor in determining the value of the ruby. The gem is always more or less imperfect, but its freedom from bad imperfections is also important. Since fine rubies of all sizes are extremely rare, the price increases very rapidly with an increase in size, and a fine ruby of more than four carats commands an extraordinary price and can be said to be the most valuable of all gems, exceeding greatly a diamond of equal weight. The color of the ruby varies from the lightest rose tint to the deepest carmine, but the rarest and most valuable shade is known as Pigeon Blood. This is the color of arterial blood. The ruby has always been greatly admired, and many say that the ruby in the British Crown is the most beautiful gem they have ever seen.

The ruby is found in limestone deposits on side hills, but the largest quantity is found in alluvial deposits of gravel and clay in riverbeds. These deposits are about fifteen to twenty feet below the surface and from a few inches to five feet in thickness. This material called “byon” is mined or removed and put through a washing process by which the rubies are recovered.

The genuine ruby is gotten from the mineral known as corundum. Emery, so much used, is an impure form of corundum. The superbly blood-red color of the perfect ruby is produced by the very tiny portions of impurity in the substance after they have been crystallized by Nature’s wonderful processes. All genuinethat is natural stones, contain certain tiny flaws and blemishes and characteristic peculiarities. The fewer these flaws the rarer the gem. Imitation stones get their imperfections during manufacture, and as the chemists are more careful than Nature, these imperfections are less noticeable. By the following differences between the real and the artificial, you can test your ruby. A real ruby contains irregularly shaped bubbles; the imitation ruby contains bubbles that are perfectly round. Natural rubies all have a silky sheen, due to a number of tiny parallel lines going in three definite directions; imitation stones never have this characteristic.

While lab-created rubies and sapphires have a distinct use in jewelry, they can never affect the sale of the real gems any more than is the case with imitation pearls. Aside from the fact that the imitation can always be ultimately detected, the person desiring to purchase a ruby, as a ruby, and as a work of beauty and distinction wants a gem which he knows is one of nature’s rarities and is therefore possessed of intrinsically great value. A good illustration of this fundamental feeling is given by Mr. Zell a noted mineralogist, who says, “Many perfect copies of the Sistine Madonna have been made by good artists, the original is priceless, the copies at the most are worth a few hundred dollars, this is the relation of a gem made in nature’s laboratory to one produced by the chemist.”

Today, the ruby is still considered one of the most valuable and beautiful of the precious stones. Artisans of fine jewelry throughout the world continue to utilize this fine gem in their creations. Ruby is the birthstone for the month of July.

For more information on jewelry and gemstones, we cordially invite you to visit http://www.morninglightjewelry.com to pick up your FREE copy of “How To Buy Jewelry And Gemstones Without Being Ripped Off.” This concise, informative special report reveals almost everything you ever wanted to know about jewelry and gemstones, but were afraid to ask. Get your FREE report at http://www.morninglightjewelry.com